Barbara Loden re-emerges in fragments. Caught in a 1965 snapshot from street photographer Garry Winogrand, she cuts across a wedge of city sunlight; tufts of windblown hair halo her wary face as one high heel steps just out of frame.
From the Magazine
The Exorcist: Barbara Loden and Wanda
Audrey II: Sofia Bohdanowicz and Deragh Campbell’s MS Slavic 7
Canadians don’t do sequels. Or at least we don’t do them that often: Don Shebib went Down the Road Again again in 2011, and Bruce McDonald got the band back together for Hard Core Logo 2 (2010); commercially oriented hits like Fubar (2002) and Bon Cop, Bad Cop (2006) have been profitable enough to justify follow-ups.
Screenlife’s What You Make It: Thoughts on Searching, Profile, Unfriended: Dark Web, and Cam
It’s one of the most cunning ironies in Isa Mazzei and Daniel Goldhaber’s Cam (2018) that just beyond the edges of the screen that dominates the protagonist’s existence is… another frame. It’s one of those chintzy, gilded affairs that an earlier generation of art enthusiasts used to spruce up velvet Elvis paintings, Margaret Keane knockoffs, and other garage-sale treasures; you’d also find them around mirrors in hotels you never visit twice.
You Can’t Own an Idea: The Films of James N. Kienitz Wilkins
Rare these days is the filmmaker who proclaims that cinema is firstly a medium of ideas rather than of images and sounds, and few have made the case as strongly as James N. Kienitz Wilkins.
Film/Art | Manhattan Style: Andy Warhol’s Empire
From A to B and Back Again. Given that “A” is “Andy,” what might count as a suitable “B”? In the context of the book of Warhol’s “philosophy” bearing that subtitle, it was literal: the Factory superstar Brigid Berlin and Interview magazine editor Bob Colacello, the other halves of the conversations which provided much of the book’s raw material.
- The Exorcist: Barbara Loden and Wanda